Mediatheque du Gevaudan Jules Roujon, le jeudi 20 janvier 2022 à 17:00, MarvejolsL’amour a toujours été le thème de prédilection des auteurs, de l’Antiquité à nos jours. Mais soumis aux aléas du cœur et de la vie, les héros littéraires ont vite compris qu’« aimer toujours » était plus facile à dire qu’à faire et « aimer encore » plus difficile à faire qu’à dire… Par exemple, Tristan aimera toujours, mais Pénélope aimera encore…. Chrétien de Troyes, Mme de La Fayette, Racine, Chaderlos de Laclos , Emilie Brontë, Rostand, Austen, Yourcenar, Stendhal, Gary….Ces auteurs ont tous tenté de soumettre leur héros à cette grande introspection : est-il plus difficile d’aimer toujours ou bien d’aimer encore ?
The inter-species romance playing out on the desolate, ruthless titular moors runs parallel to the human drama in Silverman’s twisted gothic tale. As in the prototypical gothic novel “Jane Eyre,” “The Moors” centers on a governess lured to an isolated English manse surrounded here by marsh and quicksand.But after the sweet-seeming Emilie (Audrey Billings) arrives from London, Silverman stands the tropes of the genre on their head. There’s someone walled up in the attic, but unlike in “Jane Eyre,” it’s not a mad woman. There is sexual tension abounding, but it’s not between the governess and some craggy-handsome, emotionally absent master. There are no children. There are two murders. (Catey Sullivan)
Should plays that pay tribute and also parody other works be obliged to click with audiences that are unschooled in the works’ source material? Or is a giant inside joke just as worthy as something more universally connecting? Should reviews of plays begin with questions?If one were largely ignorant of the novels of the Brontë sisters, as I am, one might find these issues weighing heavily while taking in “The Moors,” which plays off the mental and physical landscapes of the work of Charlotte and Emily (perhaps not Anne). The play, by Jen Silverman, is a dizzying patchwork of farce, “Young Frankenstein”-like clownishness, mental illness and exalted poetry. I jotted down several brooding lines to see if they were lifted from the Brontës themselves, but could not match them. [...]Even in their pop-culture outings in film, the Brontës make much of sexual perversions. “The Moors” twists that and makes what would have been regarded as perverse in the sister’s day, at least, less, um, unmoored. There’s some interspecies romance, too, though the relationship between the flighty, feathery female moorhen and the big dog turns out the way one might expect in a work in which males, though barely present, are as grim and cold as the landscape. (Ted C. Fishman)
Emma Rice's new version of Wuthering Heights plays in the Lyttelton theatre with performances from Thursday 3 February until Saturday 19 March. A co-production with Wise Children, Bristol Old Vic and York Theatre Royal, this adaptation of Emily Brontë's classic opened at Bristol Old Vic in October 2021 and will embark on a UK wide tour through 2022.The epic story of love, revenge and redemption.Rescued from the Liverpool docks as a child, Heathcliff (Ash Hunter) is adopted by the Earnshaws and taken to live at Wuthering Heights.In their daughter Catherine (Lucy McCormick), Heathcliff finds a kindred spirit and a fierce love ignites. But, when forced apart, a brutal chain of events is unleashed.Shot through with music and dance, Emma Rice (Bagdad Cafe, Wise Children, Brief Encounter) transforms Emily Brontë's masterpiece into a passionate, powerful and uniquely theatrical experience.Lucy McCormick is cast as Cathy, Ash Hunter as Heathcliff and Sam Archer, Nandi Bhebhe, Mirabelle Gremaud, Stephanie Hockley, TJ Holmes, Craig Johnson, Jordan Laviniere, Katy Owen, Tama Phethean and Witney White complete the company.Set and costume design by Vicki Mortimer, compositions by Ian Ross, sound and video by Simon Baker, lighting design by Jai Morjaria, movement and choreography by Etta Murfitt and music performed by Sid Goldsmith, Nadine Lee and Renell Shaw. (Stephi Wild)
The Handmaid’s Tale is one of the books that is most frequently challenged on account of its often violent and sexual content. “If you’re a writer and everybody likes you, a) you’re doing something wrong, or b) you don’t exist,” Atwood, 82, told the Associated Press.
“I am happy to be in the company of the Bible, Shakespeare, John Bunyan, Lord Byron, Emily Brontë, Flaubert, James Joyce, Nawal el Saadawi, Angela Carter, Anonymous of A Woman in Berlin and so many others. Lucky me, I live in a democracy, so at least I’m not in jail or being tossed out of a plane.” (Alistair Dawber)
Cal llegir. Ens cal llegir. No és broma. La lectura és, en el fons, teòrica, i sàvia en la forma. Fem-la pràctica. En això consisteix el seu veritable sentit. La lectura, com la vida, té sentit: ens porta la felicitat. Dins tots els llibres s’hi amaga sempre un món feliç si els sabem llegir. Pensem en els clàssics. Tots són afluents de la felicitat. Pensem en Homer i Ciceró, en els russos Màxim Gorki i Nicolai Gogol, en els alemanys Goethe i Schiller, en els francesos Victor Hugo i Chateaubriand, en les germanes Brontë, Charlotte, Anne i Emily, en els anglosaxons Charles Dickens i Oscar Wilde. Tots aquests autors i centenars més com ells aporten i han aportat felicitat al món. (Joan Guasp) (Translation)
Season 3: The prison & the governor[...] Andrea befriends a woman named Michonne and the two of them discover a settlement called Woodbury led by a Governor with a tyrannical leadership style and a dark secret. He’s keeping his zombified daughter locked up like something out of Jane Eyre.
Edited by Emma Domínguez-RuéLondon Center for Interdisciplinary ResearchISBN: 978-1-9196138-6-4December 2021Beyond Identities: Interdisciplinary Perspectives on Gender attempts at illustrating ongoing discussions on and about Gender Studies by focussing on different approaches to gender as a category to define experience, both in theory and in practice – including notions of time and space, questions regarding sexual identity, or geographical, socio-economic and political concerns informing gender roles. The book aims at exploring the ways in which gender interacts with
– and is embedded in – socio-cultural discourses, while interrogating attitudes to gender and gender roles through the perspective of literature, TV series, or cinema among other cultural manifestations. The series of LCIR conferences that inspired the creation of this book are grounded on the principle that more interdisciplinary work is needed in order to understand the nuances of gender as a category that defines our identity and the way we experience the world around us. Therefore, the chapters contained in this volume will hopefully contribute to enriching current discussions about the multifaceted aspects of gender and their impact in society.
Ah, gothic romance. It is always a dark and stormy night with sexually repressed spinsters sitting in the parlor of a creaky old mansion with ivy growing inside. The winds howl as the storm rages and a mastiff sits forlornly looking out of the window. A Red Orchid Theatre’s The Moors takes the lid off the staid and murky tales of unrequited passion with a few moments of zen thrown in via Moor Hen and the Mastiff. Yes, there is a governess, a sinister maid, typhus fever, and someone in the attic for the purist. However, The Moors takes DuMaurier, the Brontës, and even Henry James and tells the story behind the tales of our high school reading lists. [...]The Moors is a literate and beautifully staged show. The scenic design by Milo Blue encapsulates decay and madness in the intimate Red Orchid setting. The fog, vines, and cracked portraits form physical boundaries where this strange collection of characters live. The Moors is a show that holds up a mirror into the times in which we live as well. Some accept these limits and others go against restraints to break free no matter the consequence. It is a wickedly funny take on the gothic romance novel where the macabre blends with forbidden desires and suppressed passion. The moral of the story could be that schemers sometimes do prosper and dogs will be dogs. Go see this play and draw your conclusions. I highly recommend The Moors as a refreshing return to true Chicago-style theater—fearless and provocative. (Kathy D. Hey)
a performed reading of Jean Rhys’ novel Wide Sargasso Sea; a post-colonial and feminist prequel to Charlotte Brontë’s Jane Eyre.
“Agnes Grey” può essere considerato a suo modo un romanzo femminista sebbene la protagonista sia all’apparenza una donna mite e meno ribelle dell’eroine di Charlotte ed Emily Brontë. Questo perchè non smette mai di chiedersi come una donna possa sopravvivere in un epoca dura per le donne come quella vittoriana e come possa ottenere la sua emancipazione. Un indipendenza che Agnes Grey riesce a conquistare aprendo una scuola con la madre“La signora di Wildfell Hall” ci porta invece in dote una donna estroversa, ribelle e artista come Helen Graham che fugge da un marito alcolista. Scritto in forma epistolare questo libro per la franchezza del linguaggio e per i temi trattati attirò subito polemiche e l’interesse dei lettori. Proprio da quest’opera si evince come Anne Brontë non sia affatto un’autrice inferiore alle sorelle ma che invece possa essere pienamente considerata un precursore del realismo moderno. (Stefano Delle Cave) (Translation)
Edited by Nadine Böhm-Schnitker and Marcus Hartner[Transcript] PublishingISBN 978-3-8376-5799-9January 2022Comparisons not only prove fundamental in the epistemological foundation of modernity (Foucault, Luhmann), but they fulfil a central function in social life and the production of art. Taking a cue from the Practice Turn in sociology, the contributors are investigating the role of comparative practices in the formation of eighteenth-century literature and culture. The book conceives of social practices of comparing as being entrenched in networks of circulation of bodies, artefacts, discourses, and ideas, and aims to investigate how such practices ordered and changed British literature and culture during the long eighteenth century.
“Reading is my favourite occupation, when I have leisure for it and books to read.”
— Brontë Parsonage (@BronteParsonage) January 17, 2022
Born #OnThisDay in 1820, Anne Brontë. pic.twitter.com/wWqJ9KLI3j
What Ways of Seeing really did was act as a vessel for carrying these electrifying new ideas into the mainstream. It is inevitably described as influential, but perhaps it’s more accurate to say that it arrived right on time, conveying a new attitude or approach to culture that would soon be dispersed globally, in post-colonial, queer and feminist studies, in Marxist readings of Jane Eyre, in media studies classes, and art school reading lists.
Which writers have most influenced you?My absolute favourites are Tolkien and Orwell. Tolkien was an early love. It’s the escapism that really attracted me [as a teenager]. With Orwell, on the other hand, it’s his lucidity. What he wanted to convey is exactly what comes across in his writing – there’s no ambiguity. Charlotte Brontë’s Jane Eyre was an important book for me as well. That was my first experience in fiction of what I’d call psychological realism – the feeling of being inside the character’s head. Not all writers can do it. And I love CS Lewis. I love the magic. (Ashish Ghadiali)
Wuthering Heights unique roman d'Emily Brontë, a d’abord paru en français sous le titre Les Hauts de Hurlevent. En 1972, Pierre Leyris choisit d’intituler sa traduction Hurlevent des monts pour mieux mettre en avant le nom de la demeure où naît la passion de Heathcliff et Catherine Earnshaw.Traduction Pierre LeyrisRéalisation et Adaptation Juliette HeymannConseillère littéraire : Emmanuelle ChevrièreMusique originale de Denis ChouilletAvec : Clotilde Mollet (Mrs Dean), Guillaume Durieux (Heathcliff), Laurent Cléry (Lockwood), Audrey Bonnet (Cathy), Leslie Menu (Catherine), Jean-Claude Frissung (Joseph), Amandine Gay (Mrs Dean jeune), Eugène Marcuse (Heathcliff jeune), Valérie Moinet (Mrs Earnshaw), Laurent Lederer (Mr Earnshaw), Adrien Serre (Hindley jeune), **Pauline Ziadé (**Heathcliff enfant), Suzanne Lachartre (Cathy enfant), Clément Bresson de la comédie française (Hindley), Jérémy Lewin (Edgar Linton jeune), **Dominique Parent (**Robert), Emilia Ca'Zorzi (Isabelle enfant),Nathalie Kanoui (Mrs Linton), Charles Borg (Mr Linton), Amélie Jalliet (Zillah), Sylvain Deguillame (Hareton), Brice Hillairet (Linton), Arnaud Aldigé (Edgar Linton), Melissa Barbaud (Isabelle), Christine Pignet (La servante de Hurlevent), Jehanne Carillon (La servante du manoir), Arsène Jouet (Linton enfant), Albert Gonzales Gelot (Hareton enfant), Gabriel Loubrieu (Le petit pâtre), Sébastien Faglain (Le paysan)Et les voix de : Cécilia Dassonneville, Mathilde Choisy, Morgane Hainaux, Serge Roumy, Paul Nouhailler et Damien Paisant.Bruitages : Sophie BissantzMusique originale et piano : Denis Chouillet, violoncelle : Elena AndreyevPrise de son, montage et mixage : Antoine Viossat, Barnard Lagnel, Elise Leu et Manon HoussinAssistant à la réalisation : Pablo ValeroFeuilleton en 10 épisodes
It’s a site with connections to Jane Eyre and which is rumoured to be haunted. (...)
The hall is believed is thought to have been the inspiration for Ferndean Manor in Charlotte Brontë’s novel Jane Eyre. (John Anson)
Cherwell shares a list of books to-be-read in 2022:
The Tenant of Wildfell Hall, Anne Brontë
Originally on my list because I felt guilty for always overlooking the third Brontë sister, I am quite happy to learn that Tenant of Wildfell Hall is considered the Brontës’ ‘most shocking novel.’ Good for Anne. (Georgia Brown)
We have a first in the blunders spectrum. As far as we can remember we have never come across someone mistaking Mary Shelley for Emily Brontë. It's understandable, so many girls writing during those years. On Kearney Hub:
[Carolyn] Scheidies set the story during the Regency era, roughly 1795 to 1837, in Great Britain, a time known for its elegance and achievements in the fine arts and architecture. During that period Jane Austin wrote “Pride and Prejudice,” the Napoleonic Wars ended and Emily Brontë wrote “Frankenstein.”
Novels that never became old in Woman's Era:
Wuthering Heights. It is one of the ruling novels by Emily Brontë which catches the attraction of readers always. The novel tells the story of love, rivalry, and revenge. (Arpita Sarkar)
Well, it is the only ruling novel by Emily.
Edith loves Thomas, and perhaps naively wants to see the goodom in him. Lucille, meanwhile, treats Edith with barely-concealed hostility in a role reminiscent of Mrs. Danvers of Rebecca. In fact, there are many structural similarities to both Rebecca and Jane Eyre when it comes to Crimson Peak. Guillermo del Toro uses these frameworks to tell a horrifying (though, ultimately triumphant) coming-of-age story that’s both familiar and unique. (Madilyn Ivey)
“There is a difference between Wicked [an explicit retelling of The Wizard of Oz] or Wide Sargasso Sea [Jean Rhys’ parallel novel to Jane Eyre], for example, and what you find on An Archive of Our Own or FanFiction.Net,” [Kristina Busse] said. And the key to that difference is community. (Alice Bell)
Maudlin, self loathing, an unwilling killer of men and monsters, Louis was everything a creature of the night should be: a walking gothic wet dream; Mr Rochester without the wife in the attic, Heathcliff without the mean streak, custom-made for teenage wannabe weirdos (aka me) to fall hopelessly in love with. (Kylie Klein-Nixon)
Titeln refererar till Charlotte Brontës roman ”Jane Eyre” där guvernanten Jane förälskar sig i sin arbetsgivare Mr. Rochester. På deras bröllopsdag visar det sig att han redan är gift, med en våldsam och galen kvinna som han håller inlåst på vinden på sitt gods (Mikaela Blomqvist) (Translation)
“Eu tenho grande experiência em clubes de leitura e tenho certeza de que é muito importante na formação de um leitor, porque, nos clubes, a gente tem a oportunidade de dialogar com pessoas que estão lendo as mesmas obras”, afirma Emili Fano, também criadora do grupo de leitura Gente Literária.No início da pandemia, ela começou a se reunir em formato on-line com alguns de seus seguidores. O objetivo era simples: ler “O Morro dos Ventos Uivantes”, de Emily Brontë, que nunca havia conseguido terminar. No ano seguinte, todo mês havia um livro novo, baseado em sugestões dos participantes. (Clara Menezes) (Translation)
Las hermanas Brönte (sic) no fueron mal de drama y romanticismo en sus vidas, para ser honestos. Publicada por primera vez en 1847, 'Cumbres borrascosas' rompió con todos los cánones púdicos y morales de la Inglaterra victoriana en la que se ambienta. Una historia de pasión, obsesión y venganza que te enganchará de principio a fin. (Laura Sutil) (Translation)
The trigger warning business appears again in The Herald. The Reader Planet reviews Wuthering Heights.
By Marian BroderickThe O'Brien PressISBN: 9781788491822November 2021The greatest Irish romances from history. With chapters on Inspirations, Love & War, Love Across the Divide, Secrets & Scandals and When Love Goes Wrong, among others, Marian Broderick tells of the men and women whose passions drove them to be together: often in the face of society, family, and even their own safety.
Tim Rogers – founder of Future Transformations, which runs TEDx – said it "made sense" to hold an event at the college.He said: "Keighley has a rich history – with the globally-recognised Brontë Parsonage and Keighley & Worth Valley Railway, and manufacturing and engineering businesses continuing to be the town's bread and butter."Hosting TEDx at Keighley College makes sense. Not only is it recognisable, but it's also important to highlight the college's role in the town and its significance in shaping the minds, characters and skills of the workforce."Also, the diversity of the town is key. By representing the people with their experiences, culture and backgrounds, this will showcase the town's inclusiveness and commitment to building a better, stronger and sustainable community." (Alistair Shand)
Former home of one of the world’s most famous literary families, Brontë Parsonage Museum, Haworth, features almost untouched rooms and a collection of literature, manuscripts and contemporary exhibitions. It is open weekends throughout January. (Daryl Ames)
Like many, I have always had the romantic idea of diving into ‘the classics’ as they’re called. The Dostoevsky’s, Hemingway’s, Brontë’s, etc. Our society is obsessed with the notion of being ‘well-read.’ Many believe simply reading the works of smart people will in fact make them smart. Some go as far as to search for life’s answers within the pages of these books. While I’m not so sure either intellect or answers can so easily be adopted and/or found, I see no harm in putting one’s brain through the trials and tribulations of reading James Joyce’s Ulysses (1922). (Rudy Howell)
Then we, or more accurately I, had a few children’s books and also a few large volumes, the sort of thing people like my mother, a teacher with little means,purchased, a Gilbert & Sullivan, with each operetta faced with a brightly hued plate, a Currier and Ives that disappointed even then, a pair of Brontë sisters volumes with haunting woodcuts and, best if all, “Birds of America.” (Martha Ball)
Salford University is introducing "trigger warnings" that Charles Dickens' Great Expectations and Emily Brontë's Jane Eyre may contain scenes readers could find distressing.Now I read Great Expectations when I was about 10 years old, and can't say I found it too traumatic. I always assumed folk in Salford were made of sturdier stuff. (Mark Andrews)
Morante es una de las ilustradoras más prolíficas e importantes del panorama actual con una veintena de libros ilustrados, entre los que se encuentran obras tan importantes como Cumbres borrascosas, de Charlotte Brontë (Alma) (Esther López Barceló) (Translation)
Hay cosas sobre las que es mejor no tener más información. En la vida, en la amistad, en el amor y en el arte. ¿Deberíamos saber lo que hizo Heathcliff cuando desapareció en Cumbres borrascosas durante varios años y regresó convertido en un potentado o resulta mejor mantener el misterio que Emily Brontë ocultó en su novela? Se intentó relatar aquellos años en un libro-continuación y fue un fracaso. (Guillermo Altares) (Translation)
Nurul Imansari, Andi Mega Januarti Putri, Widia PramestiElstic, English Language, Linguistics and Culture, Vol 1, No 3 (2021)The study object in this research is childhood in Dickens’ Oliver Twist and Brontë’s Jane Eyre. Although the two novels were written by two different writers, however, the novels have similarities to some extent, particularly about the social issue in childhood. Being a symbol of growth and rebellion of the child in the novels, childhood conveys the relationship of the child’s survival and the shape of the character. Both Dickens’ and Brontë’s novel expresses some resemblances about childhood life. Through a critical analysis of Dickens’ and Brontë’s selected texts on the children characters, this research aims to compare and examine how the social status in childhood can create the individual personality and how the character changes in the novel throughout their childhood. Being a nineteenth century authors, Dickens and Brontë’s conform to the writing conventions of that period. The method used in this study was a descriptive qualitative. It will examine how the novel represents the characters by focusing on the various perspective of the narrator. The result shows that through the theme of childhood, both novels show the ability of this particular time of life to shape the personality of the character. The wicked condition in the institution, the absence of respect and affection, the ignorance of people, and the prejudice over the main character become the aspect in contributing the shape of Oliver and Jane’s personality. Both novels contain realism and drive the reader to become more aware and sympathetic towards the poor child.
Fans of the Brontës could soon snap up an address inspired by the famous literary family, as Bradford Council has revealed plans to name every street on a new housing estate after the sisters, their family and their works. [...]Last year, a planning application to build 160 homes on a plot of land off Thornton Road was approved by Bradford Council. The site is between Keelham and Thornton - the village the Brontë sisters were born in before moving to Haworth.And at a meeting next week, Councillors will be asked to approve the names of the new estate - all of which will be named after either a members of the Bronte family or one of the sister’s novels.The Council’s Bradford West Area Committee will hear that the decision is part of a push to better recognise “pioneering women” from the Bradford district.Current legislation requires the decision to name a street after a person to undergo much more scrutiny than usual road naming. [...]The estate will have 14 new streets, each one linked to the Brontes - who lived at a house on Market Street in Thornton, a little under a mile from the site. [...]The proposed road names are Charlotte Brontë Way, Villette Row, Shirley Mews, Jane Eyre Lane, The Professor Close, Bronte Way, Anne Bronte Avenue, Agnes Grey Lane, Elizabeth Brontë Mews, Branwell Brontë Close, Emily Brontë Road, Maria Brontë Drive, Patrick Brontë Court and Wuthering Heights. (Chris Young)
Jane Eyre by Charlotte BrontëThis book follows an orphan, Jane Eyre who gets employment as a governess at Thornfield Hall, the home of the mysterious Rochester. Over the course of their lives, Rochester and Jane fall irrevocably in love with each other. But Rochester is hiding a deep, dark secret within the walls of his home, and it threatens to spill out, on the eve of their wedding. With beautiful, engaging prose and a steady plot, this book is one to be devoured. (Sakshi)
The publicity materials for Lauren Blackwood’s Within These Wicked Walls describe the book as an “Ethiopian-inspired debut retelling of Jane Eyre.” If you aren’t a fan of Charlotte Brontë’s classic this might put you off the book, whereas, if you are a fan, you might be instantly concerned that the marketing machine is overreaching. My first job with this review, then, is to reassure everyone that not only does Within These Wicked Walls live up to the comparison, it is also an enthralling gothic tale that will appeal to readers with no knowledge of Thornfield Hall, destitute governesses, or, thank goodness, the cliched “mad woman in the attic.” Personally, I’m not a fan of Jane Eyre, but I have many positive things to say about Blackwood’s book. This is a novel that brings mystery, romance, bloody horror, and magic together with a fast-paced plot and dynamic setting and succeeds on every level. It works; the whole dark story works. (Colleen Mondor)
The University of Salford has given some books, including Charlotte Brontë's Jane Eyre, a "trigger warning" to students. The little darlings are to be alerted to the fact that they might find some scenes distressing. Not half as distressing as Wuthering Heights, written by Charlotte's sister Emily: I still haven't recovered from studying it for A-level.Half the characters seem to spend their entire time rampaging over the Yorkshire Moors, screeching like banshees and generally behaving like complete pains in the bum. Frankly, Cathy and Heathcliff deserved each other. But it didn't do me much harm.But why stop there? Why not ban Winnie-the-Pooh? It's really an unpleasant representation of obesity, what with Pooh constantly pigging out on honey while clearly in a mutually abusive relationship with Piglet. And have you noticed he wears a top and no trousers? (Virginia Blackburn)
[Actress Olivia] Colman, who grew up in Norfolk, makes a decent fist of a Yorkshire accent, which has traditionally been disfigured by performers who do not emanate from these parts.There have been some grim attempts over the past few decades, from Juliette Binoche as Cathy in 1992’s Wuthering Heights to Anne Hathaway in 2011’s One Day. (Anthony Clavane)
As voiced by John Leguizamo, Mirabel’s uncle Bruno is locked in the attic like Rochester’s unfortunate first wife in “Jane Eyre.” Behind glowing green eyes, he’s troubled by untreated mental illness and dark visions of a Madrigal family futures. (Kirk Michael)
The Stylistics of ‘You'
Second-Person Pronoun and its Pragmatic Effects
Sandrine Sorlin, Université Paul Valéry, MontpellierCambridge University PressISBN: 9781108833028January 2022This book takes 'you', the reader, on board an interdisciplinary journey across genre, time and medium with the second-person pronoun. It offers a model of the various pragmatic functions and effects of 'you' according to different variables and linguistic parameters, cutting across a wide range of genres (ads, political slogans, tweets, news presentation, literary genres etc.), and bringing together print and digital texts under the same theoretical banner. Drawing on recent research into intersubjectivity in neuropsychology and socio-cognition, it delves into the relational and ethical processing at work in the reading of a second-person pronoun narrative. When 'you' takes on its more traditional deictic function of address, the author-reader channel can be opened in different ways, which is explored in examples taken from Fielding, Brontë, Orwell, Kincaid, Grimsley, Royle, Adichie, Bartlett, Auster, and even Spacey's 'creepy' 2018 YouTube video, ultimately foregrounding continuities and contrasts in the positioning of the audience.
What you read to your children does matter. But this has nothing to do with providing gender-appropriate role models. A good book can inspire young minds. In Jane Eyre, a young Jane describes escaping from her torturous foster family by hiding behind a curtain to read Bewick’s A History of British Birds, in which ‘each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting’. And that’s what a good book does – it takes a reader beyond herself and expands her understanding. (Ella Whelan)
Perusers of used books will find a bargain, as only a few pre-owned options cost more than $10. Bigger budget? Check out the shelves of rare volumes with familiar names like Dostoevsky, Hawthorne, and Brontë on the spines, or the selection of books signed by their authors, including several by Indianapolis’s own John Green. (Sarah Moreland Byrne)
As a Scorpio, you're probably known for being a bit dramatic. This is because, as a water sign, you're more attuned to your emotions than others (via Style Caster). There's no middle ground for a Scorpio — when you feel something, you feel it all the way through. Which is why you'll fall in love with "Wuthering Heights" by Emily Brontë. This novel is a classic for a reason. It's filled with lust and longing, darkness and grief, and every other emotional adjective you can imagine."Wuthering Heights" tells the tale of Heathcliff and Catherine Earnshaw. The romantic relationship between the two is oftentimes volatile and unpredictable, and the novel explores the impact this has on them both. You'll be completely embroiled in their theatrics, to the point where you'll feel emotionally invested in what happens to their characters throughout the novel. It's the perfect reading experience for someone who's as attuned to their emotions as you are — though you may find it difficult to separate yourself from the story upon its conclusion. (Sam Cohen)
Literature is full of some of the greatest love stories of all time. Heathcliff and Catherine in Wuthering Heights; Romeo and Juliet in Shakespeare’s play; Cecilia and Robbie in Atonement – they’re just a few examples of literature’s most famous romances, which strike right to the core of how it feels to be deeply in love. [...]Professing love doesn’t always come easily in real life, but brought to life on the page by authors such as Leo Tolstoy, the Brontë sisters, and, of course, the master himself, William Shakespeare, we can instantly relate to the turbulence of matters of the heart.We’ve picked out some of the most romantic quotes in literature below.“It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same…” Catherine to Nelly – Wuthering Heights by Emily Brontë, 1847 [...]“I have now been married ten years. I know what it is to live entirely for and with what I love best on earth. I hold myself supremely blest – blest beyond what language can express; because I am my husband's life as fully is he is mine. No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone and flesh of his flesh. I know no weariness of my Edward's society: he knows none of mine, any more than we each do of the pulsation of the heart that beats in our separate bosoms; consequently, we are ever together. To be together is for us to be at once as free as in solitude, as gay as in company.” Jane Eyre – Jane Eyre by Charlotte Brontë, 1847 (Charlotte Cripps)
by Valerie L. StevensSociety & Animals, Online Publication Date: 23 Dec 2021Aware of her pupil’s plans to torture and kill a nest of birds, and with no authority to stop him based on her class, gender, and professional positions, the governess-heroine of Anne Brontë’s (2010/1847) Agnes Grey kills the nonhuman animals to keep them from needless suffering. Building on Brontë scholarship as well as animal studies understandings of violence and embodiment, this article considers expectations that Victorian sympathy will be a simplistic and pretty play on reader emotions to argue that nineteenth-century sympathetic feeling was more theoretically and ethically complex than we might imagine. Agnes Grey demonstrates how human-animal violence was thought to be an acceptable expression of middle- and upper-class masculinity, while proper women were expected to be complicit with this treatment of nonhumans. By looking at the close relationship between wanton and merciful embodied violence, the article shows how grotesque Victorian human-animal sympathy could be.
by Belmerabet FatihaAlgerian Scientific Journal Platform, Volume:06../ N°:01 (2021) p 174Emily Brontë’s Wuthering Heights seems to be frequented by the British folklore that is not an element from stories published in Victorian Journals; it is lively present in the life of Yorkshire people. Moreover, it symbolizes an ongoing agitation that governed the relationship between the middle and the lower classes in 19th century Britain. The middle-class Victorian folklorists worked to collect folkloric materials like songs and old stories. This activity was engaged in constructing the British cultural identity yet, it was intentionally involved in excluding some cultural groups like the rustic northerners. Therefore, and throughout creating a biased image, they deemed these people’s arts and culture as strange and primitive. Wuthering Heights appears to rival the folklorists' assumptions and depicts another perception. The present paper tries to shed light on two folkloric elements utilized by E. Bronte in Wuthering Heights. It also analyses the way they interact in the story and the way the author depicts their cultural significance differently from other authors.
The book that: [...]…that I recommend over and over again:Wuthering Heights by Emily Brontë. It is a great introduction to classic literature. An active story that reveals the many facets of love through Heathcliff and Catherine. (Riza Cruz)
These are ten of my favourite books but it is assuming that the great building blocks of our nation’s literature – Jane Eyre, Middlemarch, David Copperfield, Vanity Fair, etc are permanently in my mind as remembered chunks, and so have not been included. (Gill Sutherland)
Jan Bailey: What book do you read over and over?K.M.: I rarely re-read a book, but I have read some of the Brontë sisters’ classics more than once: Jane Eyre and Wuthering Heights. They evoke a very different lifestyle that I find it quite interesting and a bygone, and perhaps non-existent sense of romance.Also, those books portray just such a wretched life for women and that makes me so glad to have been born when and where I was!
According to her detractors, Jones’s piece was bad because it was so limited, so individual, both in its focus and in its justifications for the divorce. While I find it hard to believe that anyone would really divorce someone over the state of their Plain English kitchen — this is surely a metaphor for stultifying domesticity? The mad woman on the marble countertop? No? — it was hard to deny that the essay lacked breadth and interest for a reader who wasn’t also the author.But elsewhere in the world of personal essays, we find the ghostly figures of Emily Brontë, Herman Melville, George Eliot, Sigmund Freud, Louise Bourgeois, Cecile Løveid — the list goes on. (Francesca Peacock)
by Skye WarrenISBN-13 : 979-8767994595The secrets haunting Beau Rochester come alive.He doesn’t deserve happiness, but he holds it in his hands. A woman he loves. A child. The past threatens to rip them away. He risks losing them forever.Jane Mendoza is determined to protect the people she loves from every threat--the mysterious arsonist, the corrupt police force. The darkest danger comes from a place she never expects.She risks more than her newfound family. She risks her life.
If I were a youngster filling out my Ucas forms, I would quite like to know that the course I will be setting aside three years of my life for – alongside the best part of £30,000 – will be treating me as the adult that I am. Yet we find ourselves stuck in a paradoxical universe where young adult literature is more “challenging” than ever, and its authors celebrated for broaching topics such as cults, suicide, self-harming and gender identity in an almost fetishistic manner (you should know that there is a YA sub-genre, “cutting fiction”) but, once you hit 20, all provocation is deemed dangerous.Among the most eagerly awaited YA books to be published this year are Noah Hawley’s Anthem, described as “a near-future horror” in which “a plague of teen suicides spreads around the world, in the middle of a climate crisis”; Jan Carson’s The Raptures, which tells the story of “a village blighted by a mysterious disease afflicting its children”; and Chris Whitaker’s The Forevers, in which “the characters are dealing with a whole range of issues – suicide, abuse, self-harm, eating disorders, homosexuality”, not to mention the asteroid that is about to obliterate them all.Genteel stuff. Enough to make both Great Expectations and Jane Eyre look like bath books for toddlers. Unless, of course, it’s the fact that these are old that’s the real problem? Because what could be more “on message” than a story of bullying, abuse and the triumph of a young girl who believes in gender and social equality above all else? Were Jane Eyre written today, Netflix would surely snap up the rights before the book was even published, although it might still come with Salford University-style “content warnings”.Actor Simon Callow, who has appeared in several Dickens adaptations, believes these could be made stronger still – you know, to help avoid any undergraduate “distress” – so that they would instead read: “Warning – this book may make you think.” We should certainly guard against that. (Celia Walden)
Warning: Brontë may bore
I agree with the University of Salford that 19th-century novels such as Jane Eyre and Great Expectations should have trigger warnings on the cover, alerting students to the distressing scenes about to unfold. But the warnings shouldn’t be about mad women in attics, heroes falling in lakes or pickpocketing gangs of singing urchins, more the narcoleptic nature of the prose: “What follows is verbose, plotted at a snail’s pace and likely to contain lengthy passages of botanical, architectural and theological detail which you will not care that you don’t understand.” Something like that would do the trick.
The way history remembers her, Anne is basically Peggy from the musical Hamilton. But Anne published novels alongside her sisters. In fact, she is likely the sister who began writing novels first. Many consider her novel Agnes Grey to have been an inspiration for her sister’s novel Jane Eyre. And despite a lack of recognition, many consider Anne’s second novel The Tenant of Wildfell Hall to be the first feminist novel.Her novels were well-reviewed by critics and popular with readers during her time. But soon after her death she became dismissed as the least talented of the three sisters and forgotten by history. Who was Anne Brontë? And how did she become the forgotten Brontë sister? (Read more) (Alison Doherty)
The Emily Stone, is a tribute to Emily Brontë by singer Kate Bush carved on one of the Brontë Stones, at Ogden Kirk on Thornton Moor near Ogden Water in West Yorkshire.The Brontë Stones are a group of stones placed in the landscape between the birthplace of the Brontë family in Thornton and the parsonage where they wrote their famous work in Haworth.The project was devised by writer, Michael Stewart, who took inspiration from another literary walk.There are three stones that celebrate the bicentenaries of the three sisters: Charlotte, Emily and Anne, and a fourth stone to mark the significance of the Brontës as a literary family.The stones have been carved by fine art letter carver, Pip Hall, with specially commissioned literature by famous contemporary female writers.The project was curated and delivered jointly by Michael Stewart and the Bradford Literature Festival and funded by the Arts Council England.The Emily Stone is sited in the midst of windswept moorland overlooking Haworth. The poem is written by internationally acclaimed singer and musician, Kate Bush, and is carved into the side of Ogden Kirk, a stunning outcrop of rock above the clough.The poem was written as a tribute to Emily Brontë in her bicentenary year, but also to mark 40 years since the release of Kate’s debut single, Wuthering Heights, which was number one in the charts for four weeks in 1978.Speaking about the project at its launch Kate said: “I am delighted to be involved in this project. Each sister being remembered by a stone in the enigmatic landscape where they lived and worked is a striking idea. Emily only wrote the one novel – an extraordinary work of art that has truly left its mark." (Catherine Scott)
A recently published Brontë-related paper:
The Master Model in Emily Brontë’s Wuthering HeightsAn Ecofeminist Reading
María Isabel Romero-PérezÁlabe: Revista de Investigación sobre Lectura y Escritura, ISSN-e 2171-9624, Nº. 25, 2022One of the canonical writings of English literature, Emily Brontë’s Wuthering Heights (1847) illustrates the distortion and polarisation of nature, the resistance of patriarchal figures and the prime importance of knowledge and reason in dissolving and reclaiming alienated identities. Approaching the narrative through Plumwood’s (1993/2003) (eco)feminist critique, this article aims to analyse the political dimension of human relations with nature and the dominant forms of rationality in the logical structure of dualisms. This lens allowed an ecofeminist reading of race, class and gender interrelated oppressions in the construction of Catherine and Heathcliff. The fluctuating position of these protagonists in the scale of otherness revealed the power dynamics of the hegemonic centres in both households, Wuthering Heights and Thrushcross Grange. In this context, education eventually points at a possible reconciliation of the opposing binarisms of the master model in the second generation of characters, Cathy and Hareton. Emily Brontë’s characters stress the intricate articulation of the sources of tension and the mechanisms of oppression at work in her Wuthering Heights.
Schneider was invited onto the show in fall 2020, but the taping was delayed and she didn’t compete until about a year later, giving her more time to practice with the clues from previous games and correct gaps in her knowledge (“like forgetting which Brontë sister was which,” she said). (Julia Jacobs)
